"When Ifan Dafydd's single So Good was first played on Gilles Peterson's radio show in February 2011, people assumed it was a new James Blake track due to the song's use of densely layered and heavily treated vocals (taken from Amy Winehouse's You Know I'm No Good) interweaved with honey-drip beats and dying organ sounds." - The Guardian.

Ifan's songs have since featured on mixes by SBTRKT, Jamie xx, Huw Stephens, Oneman, Sinden and the aformentioned Gilles Peterson (with 'No Good' attaining a coveted spot in his Best of 2011 selection on BBC Radio 1).

In 2012 Ifan released two entirely original productions via Push & Run, 'Treehouse' and 'To Me', cementing his already lofty reputation as an immensely exciting prospect for the future.

Pedestrian’s intricate, crystallised production and an instinct for DJ sets that can captivate any club has seen him ranked in K Magazine’s ‘10 Bass Music Artists To Watch Out For In 2012’. And with very good reason.

With universally strong releases on Push & Run, 2nd Drop, Brownswood and Metalheadz, Pedestrian (also known as Jack Sibley) flows over genre constraints with sounds that submerse the home listener and entrance the heads on any dancefloor with penetrating basslines, crystallised synths, organic audio sampling and crackling melodic harmonies.

His first 12” ‘Hei Poa’ on Push & Run garnered massive critical acclaim, lauded for its high production value and a dancefloor impact only enhanced by an ethereal, hypnotic quality. Support has been coming in strong from luminaries such as Gilles Peterson, Bonobo, Commix, Ifan Dafydd, and Huw Stephens, and his remixes for Gang Colours, Emile Sandé’ and a massive Lauryn Hill bootleg with close associates Maribou State have been creating considerable hype.

"Despite taking their name from a Buddhist tree of enlightenment, Cardiff duo Bodhi (Luke Welsby and Olly Howells) thankfully don't make the insufferable chillout music that inspiration would suggest. Their single SY may start out with a fairly minimal beat pulse and chopped vocals but it soon transforms into classic 90s house, building slowly via distant percussion flourishes and expanding synths, before a delirious keyboard riff takes over. With an expert handle on dynamics, the whole thing drops out around the three-minute mark, patiently lingers about for a bit and then properly goes off via that riff and a looped female vocal joyously singing "sometimes you make me act so crazy". If that's whetted your appetite then they've also reworked the xx's Angels into a much bouncier affair."